Three Dots In Quotes

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, an initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style. Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns.

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.

Who knew three dots could make such a difference? Like everything else, a love or a wish or whatever, it was all in the way you read it.

There is a sweet little horror story that is only two sentences long: 'The last man on Earth sat along in a room. There was a knock at the door…' Two sentences and an ellipsis of three dots. The horror, of course, isn't in the story at all; it's in the ellipsis, the implication: what knocked at the door. Faced with the unknown, the human mind supplies something vaguely horrible.

There are three things that robots cannot do," wrote Maxon. Then beneath that on the page he wrote three dots, indented. Beside the first dot he wrote "Show preference without reason (LOVE)" and then "Doubt rational decisions (REGRET)" and finally "Trust data from a previously unreliable source (FORGIVE).

Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.

She took off her dark glasses and squinted at me. It was as though her eyes were shattered prisms, the dots of blue and gray and green like broken bits of sparkle.

I recently heard of someone studying the ellipsis (or three dots) for a PhD. And, I have to say, I was horrified. The ellipsis is the black hole of the punctuation universe, surely, into which no right-minded person would willingly be sucked, for three years, with no guarantee of a job at the end.

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.

It can be really painful to have to face how fucked up shit is and how scared people are…of being alive. Scared of things that are amazing. Scared of things that aren’t like television or aren’t dead. A lot of people can’t deal with three-dimensional human beings, they only know how to deal with other products — they see themselves as other products. When the world only treats you like a dot on a marketing scheme, you can learn to treat yourself and other people like that.

A coherent life is one lived in such a way that you can clearly connect the dots between three things: who you are, what you believe, what you are doing.

From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.

It was a stick-figure drawing. Two people holding hands. A thin man in black and a girl, half his height with short hair, and wide eyes. The stick-girl’s head was cocked slightly, and a small red spot marked her arm. Three similar spots, no bigger than periods, dotted the stick-man’s chest. The stick-man’s mouth was nothing more than a faint grim line. Beneath the drawing ran a single sentence: I made a friend.

Hey, you're kind of adorable. Hey. So are you. There's a soft knock on my door. One sex! Someone's here. OMG, YOU PERVY IPHONE. Sec. Not sex. TOO LATE! he writes. Three dots. Does this count as sexting? I think so?

History is ending because the dominator culture has led the human species into a blind alley, and as the inevitable chaostrophie approaches, people look for metaphors and answers. Every time a culture gets into trouble it casts itself back into the past looking for the last sane moment it ever knew. And the last sane moment we ever knew was on the plains of Africa 15,000 years ago rocked in the cradle of the Great Horned Mushroom Goddess before history, before standing armies, before slavery and property, before warfare and phonetic alphabets and monotheism, before, before, before. And this is where the future is taking us because the secret faith of the twentieth century is not modernism, the secret faith of the twentieth century is nostalgia for the archaic, nostalgia for the paleolithic, and that gives us body piercing, abstract expressionism, surrealism, jazz, rock-n-roll and catastrophe theory. The 20th century mind is nostalgic for the paradise that once existed on the mushroom dotted plains of Africa where the plant-human symbiosis occurred that pulled us out of the animal body and into the tool-using, culture-making, imagination-exploring creature that we are. And why does this matter? It matters because it shows that the way out is back and that the future is a forward escape into the past. This is what the psychedelic experience means. Its a doorway out of history and into the wiring under the board in eternity. And I tell you this because if the community understands what it is that holds it together the community will be better able to streamline itself for flight into hyperspace because what we need is a new myth, what we need is a new true story that tells us where we're going in the universe and that true story is that the ego is a product of pathology, and when psilocybin is regularly part of the human experience the ego is supressed and the supression of the ego means the defeat of the dominators, the materialists, the product peddlers. Psychedelics return us to the inner worth of the self, to the importance of the feeling of immediate experience - and nobody can sell that to you and nobody can buy it from you, so the dominator culture is not interested in the felt presence of immediate experience, but that's what holds the community together. And as we break out of the silly myths of science, and the infantile obsessions of the marketplace what we discover through the psychedelic experience is that in the body, IN THE BODY, there are Niagaras of beauty, alien beauty, alien dimensions that are part of the self, the richest part of life. I think of going to the grave without having a psychedelic experience like going to the grave without ever having sex. It means that you never figured out what it is all about. The mystery is in the body and the way the body works itself into nature. What the Archaic Revival means is shamanism, ecstacy, orgiastic sexuality, and the defeat of the three enemies of the people. And the three enemies of the people are hegemony, monogamy and monotony! And if you get them on the run you have the dominators sweating folks, because that means your getting it all reconnected, and getting it all reconnected means putting aside the idea of separateness and self-definition through thing-fetish. Getting it all connected means tapping into the Gaian mind, and the Gaian mind is what we're calling the psychedelic experience. Its an experience of the living fact of the entelechy of the planet. And without that experience we wander in a desert of bogus ideologies. But with that experience the compass of the self can be set, and that's the idea; figuring out how to reset the compass of the self through community, through ecstatic dance, through psychedelics, sexuality, intelligence, INTELLIGENCE. This is what we have to have to make the forward escape into hyperspace.

Three dot, a trinity, a way to map the universe, three dot.

I detected instantly that she didn’t like me. It’s a fact of life that a girl can tell in a flash if another girl likes her. Feely says that there is a broken telephone connection between men and women, and we can never know which of us rang off. With a boy you never know whether he’s smitten or gagging, but with a girl you can tell in the first three seconds. Between girls there is a silent and unending flow of invisible signals, like the high frequency wireless messages between the shore and the ships at sea, and this secret flow of dots and dashes was signalling that Mary detesting me.

I believe that no great lyric poet ever speaks in the so-called “proper” language of his or her time. Emily Dickinson didn’t write in “proper” English grammar but in slant music of fragmentary perception. Half a world and half a century away, Cesar Vallejo placed three dots in the middle of the line, as if language itself were not enough, as if the poet’s voice needed to leap from one image to another, to make—to use Eliot’s phrase—a raid on the inarticulate. Paul Celan wrote to his wife from Germany, where he briefly visited from his voluntary exile in France: “The language with which I make my poems has nothing to do with one spoken here, or anywhere.

Ever since he repented of religion and shaved off his clerical beard and mustache, he has had the constant feeling that he has taken off his trousers, and that his nose protrudes altogether indecently and must at all cost be covered. It's sheer torment! With one hand over his nose, the deacon knocks again and again. No one responds. And yet Martha is home; the gate is locked from within. And that means - what? It means that she is with someone else... The deacon punctuates the scene inwardly with the three dots we have graphically depicted just above, and, tripping over them at every second step, he proceeds to Rosa Luxemburg Street. ("X")

I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy-three I have at last caught every aspect of nature–birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further and I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life. - from Hokusai’s ‘The Art Crazy Old Man

Three butterflies for a broken girl: one for personality, one for possession, and one for pettiness

What is the only city with three dotted letters in a row?” Willo interrupted. “Beijing,” Angelo laughed.

Dorothy Parker once said: I require three things in a man. He must be handsome, ruthless, and stupid.” Upon delivering this Dot bon mot, with much waving of sparkly rings and jingly bracelets, Constance Langtry comments that she’d add a fourth: “Deft tongue. And I don’t mean a good talker.

So on we tramped, three small dots on a big mountain, mere specks, beings of no importance. In creating this world, God showed that he was a great mathematician; but in creating man, he got his algebra wrong. Puffed up with self-importance, we are in fact the most dispensable of all his creatures.

I brought the newspaper close up to my eyes to get a better view of George Pollucci's face, spotlighted like a three-quarter moon against a vague background of brick and black sky. I felt he had something important to tell me, and that whatever it was might just be written on his face. But the smudgy crags of George Pollucci's features melted away as I peered at them, and resolved themselves into a regular pattern of dark and light and medium gray dots. The inky black newspaper paragraph didn't tell why Mr Pollucci was on the ledge, or what Sgt Kilmartin did to him when he finally got him in through the window.

Things accumulated in purses. Unless they were deliberately unloaded and all contents examined for utility occasionally, one could find oneself transporting around in one's daily life three lipstick cases with just a crumb of lipstick left, an old eyebrow pencil sharpener without a blade, pieces of defunct watch, odd earrings, handkerchiefs (three crumpled, one uncrumpled), two grubby powder puffs, bent hairpins, patterns of ribbon to be matched, a cigarette lighter without fuel (and two with fuel), a spark plug, some papers of Bex and a sprinkling of loose white aspirin, eleven train tickets (the return half of which had not been given up), four tram tickets, cinema and theatre stubs, seven pence three farthings in loose change and the mandatory throat lozenge stuck to the lining. At least, those had been the extra contents of Phyrne's bag the last time Dot had turned it out.

I have drawn things since I was six. All that I made before the age of sixty-five is not worth counting. At seventy-three I began to understand the true construction of animals, plants, trees, birds, fishes, and insects. At ninety I will enter into the secret of things. At a hundred and ten, everything--every dot, every dash--will live

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.

History, lie of our lives, mire of our loins. Our sins, our souls. Hiss-tih-ree: the tip of the pen taking a trip of three steps (with one glide) down the chronicle to trap a slick, sibilant character. Hiss. (Ss.) Tih. Ree. He was a pig, a plain pig, in the morning, standing five feet ten on one hoof. He was a pig in slacks. He was a pig in school. He was a pig on the dotted line. But in my eyes it’s always the ones signing dotted lines that become pigs. Did this pig have a precursor? He did, indeed he did. In point of fact, dating all the way back to the Biblical Age. Oh where? About everywhere you look there's pigs giving that fancy ol’ snake a chase. Yeah, yeah, yeah, you can always count on a fuckin’ pretentious sarcastican for a fancy prose style.

The insanity of the human race had reached its historical zenith. The Cold War was at its height. Nuclear missiles capable of destroying the Earth ten times over could be launched at a moment’s notice, spread out among the countless missile silos dotting two continents and hidden within ghostlike nuclear-powered ballistic missile submarines patrolling deep under the sea. A single Lafayette- or Yankee-class submarine held enough warheads to destroy hundreds of cities and kill hundreds of millions, but most people continued their lives as if nothing was wrong. As an astrophysicist, Ye was strongly against nuclear weapons. She knew this was a power that should belong only to the stars. She knew also that the universe had even more terrible forces: black holes, antimatter, and more. Compared to those forces, a thermonuclear bomb was nothing but a tiny candle. If humans obtained mastery over one of those other forces, the world might be vaporized in a moment. In the face of madness, rationality was powerless. *

As it moves closer, Galen can make out smaller bodies within the mass. Whales. Sharks. Sea turtles. Stingrays. And he knows exactly what’s happening. The darkening horizon engages the full attention of the Aerna; the murmurs grow louder the closer it gets. The darkness approaches like a mist, eclipsing the natural snlight from the surface. An eclipse of fish. With each of his rapid heartbeats, Galen thinks he can feel the actual years disappear from his life span. A wall of every predator imaginable, and every kind of prey swimming in between, fold themselves around the edges of the hot ridges. The food chain hovers toward, over them, around them as a unified force. And Emma is leading it. Nalia gasps, and Galen guesses she recognizes the white dot in the middle of the wall. Syrena on the outskirts of the Arena frantically rush to the center, the tribunal all but forgotten in favor of self-preservation. The legion of sea life circles the stadium, effectively barricading the exits and any chance of escaping. Galen can’t decide if he’s proud or angry when Emma leaves the safety of her troops to enter the Arena, hitching a ride on the fin of a killer whale. When she’s but three fin-lengths away from Galen, she dismisses her escort. “Go back with the others,” she tells it. “I’ll be fine.” Galen decides on proud. Oh, and completely besotted. She gives him a curt nod to which he grins. Turning to the crowd of ogling Syrena, she says, “I am Emma, daughter of Nalia, true princess of Poseidon.” He hears murmurs of “Half-Breed” but it sounds more like awe than hatred or disgust. And why shouldn’t it? They’ve seen Paca’s display of the Gift. Emma’s has just put it to shame.

the human mind works in three elementary phases: saturate, incubate, and illuminate. Time allows us to saturate our mind with context, so we can incubate and spark the eureka moments of illumination that connect the dots, snap together patterns, and discover the options that allow us to find our paths.

One team even managed to present a pattern of light to fetuses through the wall of the uterus.21 Surprisingly, the researchers showed that three dots arranged in the shape of a face () attracted the fetus more than three dots arranged in the shape of a pyramid (). Face recognition seems to start in utero!

As children, we fear the dark. Anything might be out. here. The unknown troubles us. Ironically, it is our fate to live in the dark. This unexpected finding of science is only about three centuries old. Head out from the Earth in any direction you choose, and—after an initial flash of blue and a longer wait while the Sun fades—you are surrounded by blackness, punctuated only here and there by the faint and distant stars. Even after we are grown, the darkness retains its power to frighten us. And so there are those who say we should not inquire too closely into who else might be living in that darkness. Better not to know, they say. There are 400 billion stars in the Milky Way Galaxy. Of this immense multitude, could it be that our humdrum Sun is the only one with an inhabited planet? Maybe. Maybe the origin of life or intelligence is exceedingly improbable. Or maybe civilizations arise all the time, but wipe themselves out as soon as they are able. Or, here and there, peppered across space, orbiting other suns, maybe there are worlds something like our own, on which other beings gaze up and wonder as we do about who else lives in the dark…Life is a comparative rarity. You can survey dozens of worlds and find that on only one of them does life arise and evolve and persist… If we humans ever go to these worlds, then, it will be because a nation or a consortium of them believes it to be to its advantage—or to the advantage of the human species… In our time we’ve crossed the Solar System and sent four ships to the stars… But we continue to search for inhabitants. We can’t help it. Life looks for life.

Observe the patterns of mistakes to see if they are products of weaknesses. Everyone has weaknesses and they are generally revealed in the patterns of mistakes they make. The fastest path to success starts with knowing what your weaknesses are and staring hard at them. Start by writing down your mistakes and connecting the dots between them. Then write down your “one big challenge,” the weakness that stands the most in the way of your getting what you want. Everyone has at least one big challenge. You may in fact have several, but don’t go beyond your “big three.” The first step to tackling these impediments is getting them out into the open.

I went back every evening, after work, for nearly a year. I learned the meaning of the cud of a leaf and the glisten of wet pebbles, and the special significance of curves and angles. A great deal of the writing was unwritten. Plot three dots on a graph and join them; you now have a curve with certain characteristics. Extend that curve while maintaining the characteristics, and it has meaning, up where no dots were plotted. In just this way I learned to extend the curve of a grass-blade and of a protruding root, of the bent edges of wetness on a drying headstone. I quit smoking so I could sharpen my sense of smell, because the scent of earth after a rain has a clarifying effect on graveyard reading, as if the page were made whiter and the ink darker. I began to listen to the wind, and to the voices of birds and small animals, insects and people; because to the educated ear, every sound is filtered through the story written on graves, and becomes a part of it. ("The Graveyard Reader")

A figure barred their way. It hadn’t been there a moment ago but it looked permanent now. It seemed to have been made of snow, three balls of snow piled on one another. It had black dots for eyes. A semi-circle of more dots formed the semblance of a mouth. There was a carrot for the nose. And, for the arms, two twigs. At this distance, anyway. One of them was holding a curved stick. A raven wearing a damp piece of red paper landed on one arm. ‘Bob bob bob?’ it suggested. ‘Merry Solstice? Tweetie tweet? What are you waiting for? Hogswatch?’ The dogs backed away. The snow broke off the snowman in chunks, revealing a gaunt figure in a flapping black robe. Death spat out the carrot. HO. HO. HO.

Dipsy do and Dipsy be. How many dots does Dipsy need to connect the dots, one, two, three.

Sa me teper te dine njerezit per njeri-tjetrin, aq me shume keqkuptohen. Dhe sa me shume qe njihen me shoqi-shoqin, aq me te huaj behen. Ja, merre si shembull familjen Haze: ata ia dine te gjitha njeri-tjetrit dhe nuk honepsen dot, a thua se jane te huaj dhe shkuar te huajve. Ajo vuri ne koke kapen e vogel dhe e provoi perpara pasqyres. - Keto qe po rrefen ti Robi, jane gjysme te verteta. - Te gjitha te vertetat kete te mete kane, - iu pergjigja une. - Me tej s'arrijne dot kurre. Prandaj jemi njerez. Si do t'i vinte halli me te vertetat e plota? S'do te jetonim dot!

How all occasions do inform against me, And spur my dull revenge! What is a man, If his chief good and market of his time Be but to sleep and feed? a beast, no more. Sure, he that made us with such large discourse, Looking before and after, gave us not That capability and god-like reason To fust in us unused. Now, whether it be Bestial oblivion, or some craven scruple Of thinking too precisely on the event, A thought which, quarter'd, hath but one part wisdom And ever three parts coward, I do not know Why yet I live to say 'This thing's to do;' Sith I have cause and will and strength and means To do't. Examples gross as earth exhort me: Witness this army of such mass and charge Led by a delicate and tender prince, Whose spirit with divine ambition puff'd

Kya stood and walked into the night, into the creamy light of a three-quarter moon. The marsh’s soft air fell silklike around her shoulders. The moonlight chose an unexpected path through the pines, laying shadows about in rhymes. She strolled like a sleepwalker as the moon pulled herself naked from the waters and climbed limb by limb through the oaks. The slick mud of the lagoon shore glowed in the intense light, and hundreds of fireflies dotted the woods. Wearing a secondhand white dress with a flowing skirt and waving her arms slowly about, Kya waltzed to the music of katydids and leopard frogs.

   "Okay!...my three dots! have people ever reproached me for them! they've slobbered on about my three dots!...'Ah! his three dots!...Ah, his three dots!...He can't finish his sentences!' Every stupidity in the book! every one, Colonel!"    "So?"    "Go!pss!pss!...piss off, Colonel! and what's your opinion, Colonel?"    "Instead of those three dots, you might just as well put in a few words, that's what I feel!"   

The more I say the more remains to be said … as soon as I speak it becomes quite clear that, no matter how long I speak, new chasms open. No matter what I say I always have to leave three dots at the end. Whatever description I give always opens the doors to something further, something even darker, perhaps, but certainly something which is in principle incapable of being reduced to precise, clear, verifiable, objective prose.

If you think looking at three hundred boiling-mad, half-cocked Virginians holding every kind of breechloader under God’s sun staring back at you with murder in their eyes is a ticket to redemption, you is on the dot.

He withdrew the paper and unfolded it gingerly. It was a stick figure drawing. Two people holding hands. A man in black and a girl, half his height with short hair, and wide eyes. The stick-girl's head was cocked slightly, and a small red spot marked her arm. Three similar spots, no bigger than periods, dotted the stick-man's chest. The stick-man's mouth was nothing more than a faint grim line. Beneath the drawing ran a single sentence:

Skinny as Mum was, she'd always had a good appetite, so when she couldn't eat her roast potatoes I knew the end must be nigh. [...] We opened our presents and Mum put a polka-dot shower cap on her head and let us take pictures of her in it, which was most unlike her, she liked to be a bit dignified about things. This was another indication that she knew she was dying. Other signs to look out for are when an elderly person starts giving away their things – usually about two or three years before they die – and if they insist, rather aggressively, on returning anything they've borrowed or get annoyed if you give them gifts – they don't want any more clutter.

People think they know about misfortune and bad luck. But there was being unlucky-like when you tripped over your shoelaces or dropped a five-dollar bill in the subway or ran into your ex when you were wearing three-day-old sweatpants--then there was the kind of bad luck that Orquídea had. Bad luck woven into the birthmarks that dotted her shoulders and chest like constellations. Bad luck that felt like the petty vengeance of a long-forgotten god.

I say is someone in there?’ The voice is the young post-New formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spirals of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the past generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white- party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speaker’s blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgement of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world's best filter: this is a fact. Breathes in and out like a savvy diver… –and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting muddy juice and blue smoke and dots of mercuric red into the claw-footed trough, and can hear again and seems to see, against the fire of her closed lids’ blood, bladed vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue light from one sky, searching.

1) The Titanic hit the iceberg in the North Atlantic, approximately 400 miles off the coast of Newfoundland. 2) The Titanic was considered unsinkable because she was built with huge watertight doors to contain any possible leaks. However, when the ship hit the iceberg, six watertight compartments quickly filled up with water, dooming the ship. 3) The signal SOS was chosen as an international distress call because of the simplicity of the three letters in Morse code: three dots, three dashes, and three dots. 4) No one knows for certain exactly how long the musicians played on the Titanic, but legend says they played until the ship went down, and their last song was the hymn “Nearer My God to Thee.” 5) More than 1,500 people perished in the Titanic disaster, while 705 people escaped in lifeboats and were eventually rescued by a ship named the Carpathia. 6) After the sinking of the Titanic, laws were changed so that every ship was required to have enough lifeboats to carryall its passengers. Also, the International Ice Patrol was formed, so that ships would have warning about ice conditions. 7) In 1985, a scientist named Dr. Robert Ballard discovered the undersea wreck of the Titanic.

Doesn’t water still come up through the tap?” she asked. “Capitalism marches on, Dot. What good is free water when you can pay a hotel three dollars a bottle?” “And people are okay with this?” “Of course. America’s love affair with commerce never cools.” “If you tell me they’re still reading Ayn Rand I may spit.

Look, cell phone geolocation data shows very few clustering anomalies for this hour and climate. And that’s holding up pretty much across all major metro areas. It’s gone down six percentage points since news of the Karachi workshop hit the Web, and it’s trending downward. If people are protesting, they aren’t doing it in the streets.” He circled his finger over a few clusters of dots. “Some potential protest knots in Portland and Austin, but defiance-related tag cloud groupings in social media put us within the three-sigma rule—meaning roughly sixty-eight percent of the values lie within one standard deviation of the mean.

The entire area - some 300 square kilometers - is sacred. There are shrines and temples dotted about the slopes, but they merely confirm the sanctity of the land. It is not in the shrines and temples that the gods live, but in the mountains themselves. [about the Three Holy Mountains of Dewa - Haguro, Gassam, and Yodono]

Mr. Today’s Clue: FOLLOW THE DOTS AS THE TRAVELING SUN, MAGNIFY, FOCUS, EVERY ONE. STAND ENROBED WHERE YOU FIRST SAW ME, UTTER IN ORDER; REPEAT TIMES THREE. SAM & LANI’S TAP SYSTEM: A=1 TAP B=2 TAPS C=3 TAPS D=4 TAPS E=5 TAPS OR 1 SLAP F=6 TAPS OR 1 SLAP 1 TAP G=7 OR 1 SLAP 2 TAPS H=8 OR 1 SLAP 3 TAPS I=9 OR 1 SLAP 4 TAPS J=10 OR 2 SLAPS K=11 OR 2 SLAPS 1 TAP L=12 OR 2 SLAPS 2 TAPS M=13 OR 2 SLAPS 3 TAPS N=14 OR 2 SLAPS 4 TAPS 0=15 OR 3 SLAPS p=16 OR 3 SLAPS 1 TAP Q=17 OR 3 SLAPS 2 TAPS R=18 OR 3 SLAPS 3 TAPS S=19 OR 3 SLAPS 4 TAPS T=20 OR 4 SLAPS U=21 OR 4 SLAPS 1 TAP V=22 OR 4 SLAPS 2 TAPS W=23 OR 4 SLAPS 3 TAPS X=24 OR 4 SLAPS 4 TAPS Y=25 OR 5 SLAPS Z=26 OR 5 SLAPS 1 TAP

Sister Gee stared at her neighbors as they surrounded her, and at that moment she saw them as she had never seen them before: they were crumbs, thimbles, flecks of sugar powder on a cookie, invisible, sporadic dots on the grid of promise, occasionally appearing on Broadway stages or on baseball teams with slogans like “You gotta believe,” when in fact there was nothing to believe but that one colored in the room is fine, two is twenty, and three means close up shop and everybody go home; all living the New York dream in the Cause Houses, within sight of the Statue of Liberty, a gigantic copper reminder that this city was a grinding factory that diced the poor man’s dreams worse than any cotton gin or sugarcane field from the old country. And

She looks across the line and sees the nine waitresses in their bathing suits, in the clear blazing sunlight, laughing on the dock, herself among them; and off in the shadowy rustling bushes of the shoreline, sex lurking dangerously. It had been dangerous, then. It had been sin. Forbidden, secret, sullying. Sick with desire. Three dots had expressed it perfectly, because there had been no ordinary words for it. On the other hand there had been marriage, which meant wifely checked aprons, playpens, a sugary safety. But nothing has turned out that way. Sex has been domesticated, stripped of the promised mystery, added to the category of the merely expected. It's just what is done, mundane as hockey. It's celibacy these days that would raise eyebrows.

Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four foot ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores at the dotted line. But in my arms she was always Lolita.

Lolita, light of my life, fire of my loins. My sin, my soul, my Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.

Her small bedroom was decorated with cheerfully embroidered samplers, which she had stitched herself, and a shelf containing an intricate shellwork tableau. In her parlor, the chimneypiece was crammed with pottery owls, sheep, and dogs, and dishes painted with blue and white Chinoiserie fruits and flowers. Along the picture rail of one wall was an array of brightly colored plates. Dotted about the other walls were half a dozen seascape engravings showing varying climactic conditions, from violent tempest to glassy calm. To the rear was an enormous closet that she used as a storeroom, packed with bottled delicacies such as greengage plums in syrup, quince marmalade, nasturtium pickles, and mushroom catsup, which infused all three rooms with the sharp but tantalizing aromas of vinegar, fruit, and spices.

It was a stick-figure drawing. Two people holding hands. A thin man in black and a girl, half his height with short hair, and wide eyes. The stick-girl’s head was cocked slightly, and a small red spot marked her arm. Three similar spots, no bigger than periods, dotted the stick-man’s chest. The stick-man’s mouth was nothing more than a faint grim line. Beneath the drawing ran a single sentence: I made a friend. Victor. “You okay?” Eli blinked, felt the cop’s hand on his arm. He slid free, folded the paper, and put it in his pocket before anyone could see or say otherwise…Eli went back the way he’d come. He didn’t stop, not until he was safely in his car. In the relative privacy of the side street in Merit, he pressed his hand against the drawing in his pocket, and a phantom pain started in his stomach.

I saw this at about three o'clock in the morning, alone in my apartment, on a black-and-white set with lots of interference. White noise and snow. He seemed to be speaking directly at me, right out of the television set. For a moment I was disoriented, seized by panic; could a ghost embody itself through wavelengths, electronic dots, a picture tube? What are the dead, anyway, but waves and energy? Light shining from a dead star?

The doctor had installed a portal that connected Emily’s store to her house, allowing her to bypass her commute. The portal was sage green and had three golden dots painted on the side: Emily studied the dots. “Is that an upside-down ‘therefore’ symbol?” “When the dots are placed this way, they mean ‘because.’ I know my house is closer to town than yours. If you do ever decide to marry me,” Daedalus said, “I did not wish convenience to be a factor in your decision.

Life in the Cause would lurch forward as it always did. You worked, slaved, fought off the rats, the mice, the roaches, the ants, the Housing Authority, the cops, the muggers, and now the drug dealers. You lived a life of disappointment and suffering, of too-hot summers and too-cold winters, surviving in apartments with crummy stoves that didn’t work and windows that didn’t open and toilets that didn’t flush and lead paint that flecked off the walls and poisoned your children, living in awful, dreary apartments built to house Italians who came to America to work the docks, which had emptied of boats, ships, tankers, dreams, money, and opportunity the moment the colored and the Latinos arrived. And still New York blamed you for all its problems. And who can you blame? You were the one who chose to live here, in this hard town with its hard people, the financial capital of the world, land of opportunity for the white man and a tundra of spent dreams and empty promises for anyone else stupid enough to believe the hype. Sister Gee stared at her neighbors as they surrounded her, and at that moment she saw them as she had never seen them before: they were crumbs, thimbles, flecks of sugar powder on a cookie, invisible, sporadic dots on the grid of promise, occasionally appearing on Broadway stages or on baseball teams with slogans like “You gotta believe,” when in fact there was nothing to believe but that one colored in the room is fine, two is twenty, and three means close up shop and everybody go home; all living the New York dream in the Cause Houses, within sight of the Statue of Liberty, a gigantic copper reminder that this city was a grinding factory that diced the poor man’s dreams worse than any cotton gin or sugarcane field from the old country. And now heroin was here to make their children slaves again, to a useless white powder. She looked them over, the friends of her life, staring at her. They saw what she saw, she realized. She read it in their faces. They would never win. The game was fixed. The villains would succeed. The heroes would die.

I’ll be waiting outside. Why? The dots bounced on the screen and she bit her lip, curious what his intentions were. Because I’ve waited three days already. Dots. Because I’m trying not to crowd you. Dots. Because I can’t wait until the day after. Dots. Because I missed you. Dots. Because I love talking with you. Dots. Because I get hard when I think about you. Dots. Because waiting is what I am willing to do until you see me as who I am now, not who I was then. Dots. Because you are worth every fucking hoop you ask me to jump through.

Stell handed Eli a plastic bag. Inside was a crumpled piece of paper. He withdrew the paper and unfolded it gingerly. It was a stick-figure drawing. Two people holding hands. A thin man in black and a girl, half his height with short hair, and wide eyes. The stick-girl's head was cocked slightly, and a small red spot marked her arm. Three similar spots, no bigger than periods, dotted the stick-man's chest. The stick-man's mouth was nothing more than a faint grim line. Beneath the drawing ran a single sentence: I made a friend. Victor.

Oh, but it is!" said Dot. "You see, I've taken many, many writing workshops. You'd be surprised how many." No I wouldn't, thought Amy, although she would be surprised if any of the other classes had actually encouraged critical reading. Dot was ideal prey for the sort of writing guru who praised everybody's use of metaphor whenever a metaphor, however exhausted, was actually used. No doubt Dot had been told more than once that her work was publishable, and Dot, hearing identical assurances given to others, had believed in her heart of hearts that she was the only one not being patronized. There was a local industry devoted to Dots: weekend writing conferences, during which the Dots could pay extra to have a real-live literary agent actually read one of their paragraphs; expensive weeklong retreats in Anza-Borrego or Julian or Ensenada, where the Dots could locate their inner voices; and at least three annual fiction-writing contests which the Dots could enter at will, for a hefty fee. Amy was willing to bet that in Dot's living room an entire wall was devoted to framed literary awards, including Third Runner-Up Best Unpublished Romance Manuscript.

I go into the depths of the shed, where the keel curves down to the pointed prow, and there it is, the pencil drawing I made when I was four, the three of us in an upside-down boat surrounded by moons and stars. I'm wearing my favourite red-and-white polka dot dress. Dad calls it my cave painting, created in a distant past, at the very birth of the world. I coloured it in with crayons and it was very bright, almost luminous. I trace it with my fingers. I brush away some dust. Each year it's there, but each year a little more dull, more faded. How old will I be when at last it’s gone?

Tyler was to his left, and to his right were the three other witnesses who had joined them for the headlining session of the first day of testimony. Directly next to Cameron sat Fred Wilson, a seasoned venture capitalist veteran who had moved into the cyber currency space in a big way, with the countenance of someone who had seen a number of technology waves, including the first dot-com boom and bust. Next to Wilson, the up-and-comer venture capitalist Jeremy Liew, a partner at Lightspeed Venture. And at the end of the bench, Barry Silbert, the founder and CEO of the startup SecondMarket.

I begin to describe a three-tier cake. The bottom tier would be a deep, dark devil's food cake filled with thick chocolate custard. The middle tier would be a vanilla cake filled with a fluffy vanilla mousse and a layer of roasted strawberries. The top tier, designed to be removed whole and frozen for the first anniversary, would be one layer of chocolate cake and one of vanilla with a strawberry buttercream filling. The whole cake would be covered in a layer of vanilla buttercream, perfectly smoothed, and the tiers separated by a simple line of piped dots, looking like a string of pearls.

I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one-hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.

Now that is a sword,” Freddy said in awe as he went to look at an impressive saber hanging from the hat rack near the door. “Stay away from it,” she cautioned. “I’m sure it’s sharper than yours.” As usual, Freddy ignored her. “Just think what I could do with this,” he said as he lifted it off its hook. “So far I haven’t seen you do anything with a sword, my boy,” Oliver remarked dryly. “Though I shudder to think what your cousin would attempt.” Maria glared at Oliver, which only made him laugh. Meanwhile, Freddy unsheathed the saber with a flourish. “Curse it, Freddy, put it back,” Maria ordered. “What a fine piece of steel.” Freddy swished it through the air. “Even the one Uncle Adam gave me isn’t near so impressive.” Maria appealed to Oliver. “Do something, for pity’s sake. Make him stop.” “And get myself skewered for the effort? No, thank you. Let the pup have his fun.” Freddy cast him a belligerent glance. “You wouldn’t call me a pup if I came at you with this.” “No, I’d call you insane,” Oliver drawled. “But you’re welcome to try and see what happens.” Don’t encourage him,” Maria told Oliver. The door opened suddenly, and Freddy whirled with the sword in hand, knocking a lamp off the desk. As the glass chimney shattered, spilling oil in a wide arc, the wick lit the lot, and fire sprang to life. Maria jumped back with a cry of alarm while Oliver leaped out of his chair to stamp it out, first with his boots and then with his coat. A string of curses filled the air, most of them Oliver’s, though Freddy got in a few choice ones as the fire licked at his favorite trousers. When at last Oliver put the flames out and nothing was left but a charred circle on the wood floor, dotted with shards of glass, the three of them turned to the door to find a dark-haired man observing the scene with an expression that gave nothing away. “If you hoped to catch my attention,” he remarked, “you’ve succeeded.” “Mr. Pinter, I presume?” Oliver said, tossing his now ruined coat and singed gloves into a nearby rubbish pail. “I hope you’ll forgive us for the dramatic intrusion. I’m Stonevi-“ “I know who you are, my lord,” he interrupted. “It’s what you’re doing here setting fire to my office that I’m not certain of.

you can easily substitute your favorite seafood, shrimp, scallops, or any mild white fish also works well. Sometimes I like to mix all three, for a seafood medley! Lazy Lobster Casserole 1 pound fresh lobster meat, chopped into roughly 1 inch pieces 1 stick of butter 1 sleeve of Ritz crackers 2 tablespoons sherry (optional) 2 tablespoons chopped, fresh, flat parsley Melt 3/4 stick of butter in a small bowl.  In a medium casserole dish, place lobster, and pour half the melted butter over and stir to coat.  Add Ritz cracker crumbs and parsley to the remaining melted butter.  Mix well, and then pat over top of lobster meat, until evenly coated. Cut remaining butter into small pieces and dot over top of stuffing. Drizzle sherry evenly over the top, and bake for about 25 minutes at 300 degrees. Serves 3-4

Next, wearing a dark-green dress with white polka dots, Michael’s mother, Ethel, entered the room. As she reached the chair, she turned and embraced the matron, who choked up and left the room. The guards dropped the leather mask over her face. The first of the three standard shocks was applied at 8:11. “She seemed to fight death,” The New York Times reported. “She strained hard against the straps and her neck turned red. A thin column of grayish smoke rose from the upper side of her head. Her hands, lying limp, were now clenched like a fighter’s.” After the standard three shocks of electricity, one short and two long, doctors approached to check her heartbeat and discovered that Ethel was still alive. Her straps were readjusted and a fourth shock was applied. Once more, she strained against the straps. A fifth current was required before the doctors pronounced her dead.

Devin was the most gorgeous, unique creature Kate had ever known. She'd come out of the womb an individual, refusing to be defined by anyone. She didn't even look like anyone on either side of their families. Matt's family was so proud of their dark hair, a blue-black that had been the envy of generations, the way it caught the sun like a spiderweb. From Kate's own side of the family, there was a gene that made their eyes so green that they could trick people into thinking that even the most unattractive Morris woman was pretty. And yet here was Devin, with fine cotton-yellow hair and light blue eyes, the left of which was a lazy eye. She'd had to wear an eye patch when she was three. And she'd loved it. She loved her knotted yellow hair. She loved wearing stripes with polka dots, and tutus, and pink and green socks with orange patent-leather shoes. Devin could care less what other people thought about her.

A morning later, Nancy described her first dream, the first remembered dream of her life. She and Judy Thorne were on a screened porch, catching ladybugs. Judy caught one with one spot on its back and showed it to Nancy. Nancy caught one with two spots and showed it to Judy. Then Judy caught one with three spots and Nancy one with four. Because (the child explained) the dots showed how old the ladybugs were. She told this dream to her mother, who had her repeat it to her father at breakfast. Piet was moved, beholding his daughter launched intoanother dimension of life. Like school. He was touched by her tiny stock of imagery the screened porch (neither they nor the Thornes had one; who?), the ladybugs (with turtles the most toylike of creatures), the mysterious power of numbers, that generates space and time. Piet saw down a long amplifying corridor of her dreams, and wanted to hear her tell them, to grow older with her, to shelter her forever.” John Updike, Couples, 1968.

Hubble then made an even more amazing discovery. By measuring the red shift of the stars’ spectra (which is the light wave counterpart to the Doppler effect for sound waves), he realized that the galaxies were moving away from us. There were at least two possible explanations for the fact that distant stars in all directions seemed to be flying away from us: (1) because we are the center of the universe, something that since the time of Copernicus only our teenage children believe; (2) because the entire metric of the universe was expanding, which meant that everything was stretching out in all directions so that all galaxies were getting farther away from one another. It became clear that the second explanation was the case when Hubble confirmed that, in general, the galaxies were moving away from us at a speed that was proportional to their distance from us. Those twice as far moved away twice as fast, and those three times as far moved away three times as fast. One way to understand this is to imagine a grid of dots that are each spaced an inch apart on the elastic surface of a balloon. Then assume that the balloon is inflated so that the surface expands to twice its original dimensions. The dots are now two inches away from each other. So during the expansion, a dot that was originally one inch away moved another one inch away. And during that same time period, a dot that was originally two inches away moved another two inches away, one that was three inches away moved another three inches away, and one that was ten inches away moved another ten inches away. The farther away each dot was originally, the faster it receded from our dot. And that would be true from the vantage point of each and every dot on the balloon. All of which is a simple way to say that the galaxies are not merely flying away from us, but instead, the entire metric of space, or the fabric of the cosmos, is expanding. To envision this in 3-D, imagine that the dots are raisins in a cake that is baking and expanding in all directions. On

On the bus, I pull out my book. It's the best book I've ever read, even if I'm only halfway through. It's called Jane Eyre by Charlotte Brontë, with two dots over the e. Jane Eyre lives in England in Queen Victoria's time. She's an orphan who's taken in by a horrid rich aunt who locks her in a haunted room to punish her for lying, even though she didn't lie. Then Jane is sent to a charity school, where all she gets to eat is burnt porridge and brown stew for many years. But she grows up to be clever, slender, and wise anyway. Then she finds work as a governess in a huge manor called Thornfield, because in England houses have names. At Thornfield, the stew is less brown and the people less simple. That's as far as I've gotten... Diving back into Jane Eyre... Because she grew up to be clever, slender and wise, no one calls Jane Eyre a liar, a thief or an ugly duckling again. She tutors a young girl, Adèle, who loves her, even though all she has to her name are three plain dresses. Adèle thinks Jane Eyre's smart and always tells her so. Even Mr. Rochester agrees. He's the master of the house, slightly older and mysterious with his feverish eyebrows. He's always asking Jane to come and talk to him in the evenings, by the fire. Because she grew up to be clever, slender, and wise, Jane Eyre isn't even all that taken aback to find out she isn't a monster after all... Jane Eyre soon realizes that she's in love with Mr. Rochester, the master of Thornfield. To stop loving him so much, she first forces herself to draw a self-portrait, then a portrait of Miss Ingram, a haughty young woman with loads of money who has set her sights on marrying Mr. Rochester. Miss Ingram's portrait is soft and pink and silky. Jane draws herself: no beauty, no money, no relatives, no future. She show no mercy. All in brown. Then, on purpose, she spends all night studying both portraits to burn the images into her brain for all time. Everyone needs a strategy, even Jane Eyre... Mr. Rochester loves Jane Eyre and asks her to marry him. Strange and serious, brown dress and all, he loves her. How wonderful, how impossible. Any boy who'd love a sailboat-patterned, swimsuited sausage who tames rabid foxes would be wonderful. And impossible. Just like in Jane Eyre, the story would end badly. Just like in Jane Eyre, she'd learn the boy already has a wife as crazy as a kite, shut up in the manor tower, and that even if he loves the swimsuited sausage, he can't marry her. Then the sausage would have to leave the manor in shame and travel to the ends of the earth, her heart in a thousand pieces... Oh right, I forgot. Jane Eyre returns to Thornfield one day and discovers the crazy-as-a-kite wife set the manor on fire and did Mr. Rochester some serious harm before dying herself. When Jane shows up at the manor, she discovers Mr. Rochester in the dark, surrounded by the ruins of his castle. He is maimed, blind, unkempt. And she still loves him. He can't believe it. Neither can I. Something like that would never happen in real life. Would it? ... You'll see, the story ends well.

(It’s a doozy! I could listen to it all day long.) Nikki Lane—“Gone, Gone, Gone,” “Coming Home to You” Patterson Hood—“Belvedere,” “Back of a Bible” Ryan Bingham—“Guess Who’s Knocking” American Aquarium—“Casualties” Devil Doll—“The Things You Make Me Do” American Aquarium—“I’m Not Going to the Bar” Hank Williams Jr.—“Family Tradition” David Allan Coe—“Mama Tried” John Paul Keith—“She’ll Dance to Anything” Carl Perkins—“Honey, Don’t” Scott H. Biram—“Lost Case of Being Found” The Cramps—“The Way I Walk” The Reverend Horton Heat—“Jimbo Song” Justin Townes Earle—“Baby’s Got a Bad Idea” Old Crow Medicine Show—“Wagon Wheel,” “Hard to Love” Dirty River Boys—“My Son” JD McPherson—“Wolf Teeth” Empress of Fur—“Mad Mad Bad Bad Mama” Dwight Yoakam—“Little Sister” The Meteors—“Psycho for Your Love” Hayes Carll—“Love Don’t Let Me Down” HorrorPops—“Dotted with Hearts” Buddy Holly—“Because I Love You” Chris Isaak—“Baby Did a Bad Bad Thing” Jason Isbell—“The Devil Is My Running Mate” Lindi Ortega—“When All the Stars Align” Three Bad Jacks—“Scars” Kasey Anderson and the Honkies—“My Blues, My Love

Back in January 2000, the newly rebuilt Hayden Planetarium in New York City featured a space show titled Passport to the Universe, which took visitors on a virtual zoom from the planetarium out to the edge of the cosmos. En route, the audience viewed Earth, then the solar system, then watched the hundred billion stars of the Milky Way galaxy shrink, in turn, to barely visible dots on the planetarium's dome. Within a month of opening day, I received a letter from an Ivy League professor of psychology whose expertise was in things that make people feel insignificant. I never knew one could specialize in such a field. He wanted to administer a before-and-after questionnaire to visitors, assessing the depth of their depression after viewing the show. Passport to the Universe, he wrote, elicited the most dramatic feelings of smallness and insignificance he had ever experienced. How could that be? Every time I see the space show (and others we've produced), I feel alive and spirited and connected. I also feel large, knowing that the goings-on within the three pound human brain are what enabled us to figure out our place in the universe.

So he closed his eyes and imagined Artimé, the way it had been, he way he wanted it to be again. His hands reached out to include the entire plot of land. "Imagine," he said in a soft voice, picturing it all, room by room, the lawn with the fountains, the trees, the creatures. When he was certain he'd imagined it, he want on. "Believe. " He believed with all his heart that Artimé could exist again. Believed that when he was finished with the spell and he opened his eyes, it would be there. "Whisper." Alex imagined Mr. Today whispering these words over the desolate plot of land so many years ago, calling it to live a new, vibrant life, and he realized that he'd been whispering the words all along. "Breathe." Alex took in a deep, satisfying breath and let it out slowly. He didn't forget it this time. He pictured himself breathing life into the world, giving it the air it needed to flourish once again. And then: "Commence." The command to make it all happen. The beginning of everything. [...] he remembered the clue. Utter in order, repeat times three. [...] When he finished the second round, he started one last time, his voice remaining soft. "Imagine. Believe. Whisper. Breathe." He hesitated, swallowing hard before the last one. And finally: "Commence." Nothing happened. All was deathly silent. Alex remained very still, eyes closed, arms outstretched, feeling a sort of calmness inside him that he hadn't felt ever before. It almost seemed like he was beginning to float, peacefully alone in the world. And then something did happen. The light through his closed lids grew pinkish-white, bright, and soon lights swirled around him, faster and faster, with colors joining in and growing stronger. He opened his eyes just as the land in front of him turned a luscious green and, with a great rumble, the enormous fountain broke through the ground, spewing up from the earth, the growing expanse of lawn rippling and resettling around it. The land spread farther, making Unwanteds along the shore lose their footing and tumble to the ground. Trees popped up to dot the lawn and for the jungle on the opposite side of Artimé. The gray shack spun and grew into the enormous mansion once again. The heat dissipated in an instant, and a cool breeze rushed in from the sea. Alex gaped. "I did it," he whispered. And then he yelled at the top of his voice, "I did it!

Mathilde watched as down the street came a little girl in a red snowsuit with purple racing stripes. Mittens, a cap too big for her head. Disoriented, the girl turned around and around and around. She began to climb the snow mountain that blocked her from the street. But she was so weak. Halfway up, she’d slip back down. She’d try again, digging her feet deeper into the drift. Mathilde held her breath each time, let it out when the girl fell. She thought of a cockroach in a wineglass, trying to climb up the smooth sides. When Mathilde looked across the street at a long brick apartment complex taking up the whole block, ornate in its 1920s style, she saw, in scattered windows, three women watching the little girl’s struggles. Mathilde watched the women as they watched the girl. One was laughing over her bare shoulder at someone in the room, flushed with sex. One was elderly, drinking her tea. The third, sallow and pinched, had crossed her skinny arms and was pursing her lips. At last, the girl, exhausted, slid down and rested, her face against the snow. Mathilde was sure she was crying. When Mathilde looked up again, the woman with crossed arms was staring angrily through all the glass and cold and snow directly at her. Mathilde startled, sure she’d been invisible. The woman disappeared. She reappeared on the sidewalk in inside clothes, tweedy and thin. She chucked her body into the snowdrift in front of the apartment building, crossed the street, grabbed the girl by the mittens and swung her over the mountain. Carried her across the street and did it again. Both mother and daughter were powdered with white when they went inside. Long after they were gone, Mathilde thought of the woman. What she was imagining when she saw her little girl fall and fall and fall. She wondered at the kind of anger that would crumple your heart up so hard that you could watch a child struggle and fail and weep for so long, without moving to help. Mothers, Mathilde had always known, were people who abandoned you to struggle alone. It occurred to her then that life was conical in shape, the past broadening beyond the sharp point of the lived moment. The more life you had, the more the base expanded, so that the wounds and treasons that were nearly imperceptible when they happened stretched like tiny dots on a balloon slowly blown up. A speck on the slender child grows into a gross deformity in the adult, inescapable, ragged at the edges. A

The walls behind the counter had deep floor-to-ceiling shelves for vases and jam jars and scented candles, and there was an old wrought-iron revolving stand for cards. But most of the space in the long, narrow shop was taken up with flowers and plants. Today there were fifty-two kinds of cut blooms, from the tiny cobalt-blue violets that were smaller than Lara's little fingernail to a purple-and-green-frilled brassica that was bigger than her head. The flowers were set out in gleaming metal buckets and containers of every shape and size. They were lined up on the floor three deep and stacked on the tall three-tier stand in the middle of the shop. The plants, huge leafy ferns and tiny fleshy succulents, lemon trees and jasmine bushes and freckled orchids, were displayed on floating shelves that were built at various heights all the way up to the ceiling. Lara had spent weeks getting the lighting right. There were a few soft spotlights above the flower displays, and an antique crystal chandelier hung low above the counter. There were strings of fairy lights and dozens of jewel-colored tea lights and tall, slender lanterns dotted between the buckets. When they were lit, they cast star and crescent moon shapes along the walls and the shop resembled the courtyard of a Moroccan riad- a tiny walled garden right in the middle of the city.

THREE BIG MISTAKES. But, of course, it’s never that simple. Before we even got to the third one, we were down and done. As much as our willingness to believe in the constant rise felled us, as much as our eagerness to conquer risk opened us up to more risk, as much as Greenspan stood by as Wall Street turned itself into Las Vegas, there was also Greece, and Iceland, and Nick Leeson, who took down Barings, and Brian Hunter, who tanked Amaranth, and Jérôme Kerviel and every other rogue trader who thought he—and it was always a he—could reverse his gut-churning, self-induced free fall with one swift, lucky strike; it was rising oil prices, global inflation, easy credit, the cowardice of Moody’s, the growing chasm of income inequality, the dot com boom and bust, the Fed’s rejection of regulation, the acceptance of “too big to fail,” the repeal of the Glass-Steagall Act, the feast of subprime debt; it was Clinton and Bush the second and senators vacationing with banking industry lobbyists, the Kobe earthquake, an infatuation with financial innovation, the forgettable Hank Paulson, the delicious hubris of ten, twenty, thirty times leverage, and, at the bottom of it, our own vicious, lingering self-doubt. Or was it our own willful, unbridled self-delusion? Doubt vs. delusion. The flip sides of our last lucky coin. We toss it in the fountain and pray.

There followed a three-year spectacle during which [Senator Joseph] McCarthy captured enormous media attention by prophesying the imminent ruin of America and by making false charges that he then denied raising—only to invent new ones. He claimed to have identified subversives in the State Department, the army, think tanks, universities, labor unions, the press, and Hollywood. He cast doubt on the patriotism of all who criticized him, including fellow senators. McCarthy was profoundly careless about his sources of information and far too glib when connecting dots that had no logical link. In his view, you were guilty if you were or ever had been a Communist, had attended a gathering where a supposed Communist sympathizer was present, had read a book authored by someone soft on Communism, or subscribed to a magazine with liberal ideas. McCarthy, who was nicknamed Tailgunner Joe, though he had never been a tail gunner, was also fond of superlatives. By the middle of 1951, he was warning the Senate of “a conspiracy so immense and an infamy so black as to dwarf any previous such venture in the history of man.” McCarthy would neither have become a sensation, nor ruined the careers of so many innocent people, had he not received support from some of the nation’s leading newspapers and financing from right-wingers with deep pockets. He would have been exposed much sooner had his wild accusations not been met with silence by many mainstream political leaders from both parties who were uncomfortable with his bullying tactics but lacked the courage to call his bluff. By the time he self-destructed, a small number of people working in government had indeed been identified as security risks, but none because of the Wisconsin senator’s scattershot investigations. McCarthy fooled as many as he did because a lot of people shared his anxieties, liked his vituperative style, and enjoyed watching the powerful squirm. Whether his allegations were greeted with resignation or indignation didn’t matter so much as the fact that they were reported on and repeated. The more inflammatory the charge, the more coverage it received. Even skeptics subscribed to the idea that, though McCarthy might be exaggerating, there had to be some fire beneath the smoke he was spreading. This is the demagogue’s trick, the Fascist’s ploy, exemplified most outrageously by the spurious and anti-Jewish Protocols of the Elders of Zion. Repeat a lie often enough and it begins to sound as if it must—or at least might—be so. “Falsehood flies,” observed Jonathan Swift, “and the truth comes limping after it.” McCarthy’s career shows how much hysteria a skilled and shameless prevaricator can stir up, especially when he claims to be fighting in a just cause. After all, if Communism was the ultimate evil, a lot could be hazarded—including objectivity and conventional morality—in opposing it.

In Amsterdam, I took a room in a small hotel located in the Jordann District and after lunch in a café went for a walk in the western parts of the city. In Flaubert’s Alexandria, the exotic had collected around camels, Arabs peacefully fishing and guttural cries. Modern Amsterdam provided different but analogous examples: buildings with elongated pale-pink bricks stuck together with curiously white mortar, long rows of narrow apartment blocks from the early twentieth century, with large ground-floor windows, bicycles parked outside every house, street furniture displaying a certain demographic scruffiness, an absence of ostentatious buildings, straight streets interspersed with small parks…..In one street lines with uniform apartment buildings, I stopped by a red front door and felt an intense longing to spend the rest of my life there. Above me, on the second floor, I could see an apartment with three large windows and no curtains. The walls were painted white and decorated with a single large painting covered with small blue and red dots. There was an oaken desk against a wall, a large bookshelf and an armchair. I wanted the life that this space implied. I wanted a bicycle; I wanted to put my key in that red front door every evening. Why be seduced by something as small as a front door in another country? Why fall in love with a place because it has trams and its people seldom have curtains in their homes? However absurd the intense reactions provoked by such small (and mute) foreign elements my seem, the pattern is at least familiar from our personal lives. My love for the apartment building was based on what I perceived to be its modesty. The building was comfortable but not grand. It suggested a society attracted to the financial mean. There was an honesty in its design. Whereas front doorways in London are prone to ape the look of classical temples, in Amsterdam they accept their status, avoiding pillars and plaster in favor of neat, undecorated brick. The building was modern in the best sense, speaking of order, cleanliness, and light. In the more fugitive, trivial associations of the word exotic, the charm of a foreign place arises from the simple idea of novelty and change-from finding camels where at home there are horses, for example, or unadorned apartment buildings where at home there are pillared ones. But there may be a more profound pleasure as well: we may value foreign elements not only because they are new but because they seem to accord more faithfully with our identity and commitments than anything our homeland can provide. And so it was with my enthusiasms in Amsterdam, which were connected to my dissatisfactions with my own country, including its lack of modernity and aesthetic simplicity, its resistance to urban life and its net-curtained mentality. What we find exotic abroad may be what we hunger for in vain at home.

Today I've prepared a dish I'm calling 'Sea Bass of Three.' The first is a citrus ceviche with yellow chilies and a hint of preserved lemon, to be eaten with plantain crisps on the left of your plate." Even from her vantage, Penelope could see Elijah had molded the ceviche into a vague fish shape that pointed to the center of the plate. "Next, in the center, is a pan-sautéed fillet of sea bass coated in chili de árbol, and paprika potatoes sliced and arranged to resemble fish scales," Elijah continued. Penelope's mouth watered at the sight of the fillet, which looked perfectly crisp and very much resembled a small fish. It again seemed to point to the third and final part of the dish, thanks to the way he'd arranged it all. "And for the final phase, you have a sea-bass-and-cod fritter with fresh coriander leaves, serrano chilies, and a pineapple, chili, and lime foam." The queen and the princess nodded and started to eat the ceviche. "Will you explain what you've done with the samphire?" Lady Rutland asked, pointing to the green seaweed that resembled very thin asparagus spears. "The samphire is meant to symbolize the sea, just as the pineapple foam is meant to suggest sea foam. I sautéed the samphire in a spiced butter," Elijah replied. Penelope grinned from her seat behind the Minstrels' Gallery's open door. He'd almost made it look like the fish (especially the potato-scaled fillet in the center) was still swimming in the sea. From what she could see, he'd dotted the foam in strategic places on the plate, including near the ceviche, so one could take a bite with a plantain crisp and the foam, or try it plain.

If you want the reader to feel intimately related to your subject, try a close-up shot. Describe the character, object or scene as if it were positioned directly in front of your eyes, close enough to touch. Let the reader see the hand-etched signature on the bottom of the wooden bowl or the white strip on the divorcée’s finger where a wedding ring once lay. Let him smell the heaviness of the milking barn after a night of rain, hear the squeak of the farmer’s rubber boots. If you want to get even closer, take the reader inside a character’s body and let him experience her world—the reeling nausea of Lydia’s first morning sickness, the tenderness of her breasts, the metallic taste in her mouth—from the inside out. Then, when you need to establish distance, to remove the reader from the scene as Shirley Jackson did in “The Lottery,” pull back. Describe your object from a great distance. The wooden bowl is no longer a hand-crafted, hand-signed original, or if it is, you can’t tell from where you’re standing. The pregnant woman is no longer Lydia-of-the-tender-breasts; she’s one of dozens of other faceless women seated in the waiting room of the county clinic. As you vary the physical distance between your describer and the subjects being described, you may find that your personal connection with your subjects is altered. Physical closeness often presages emotional closeness. Consider how it is possible that kind and loving men (like my father, who served in three wars) are capable of dropping bombs on “enemy” villages. One factor is their physical distance from their targets. The scene changes dramatically when they face a villager eye to eye; no longer is the enemy a tiny dot darting beneath the shadow of their planes, or a blip on the radar screen. No, this “enemy” has black hair flecked with auburn and a scar over her left eyebrow; she’s younger than the wives they left behind. If

Betsy didn’t want to be at the party any more than Cole did. She’d met the birthday girl in a spin class a couple of years earlier and had been declining her Evites ever since. In an effort to meet new people, however, this time Betsy replied “Yes.” She took a cab to the party, wondering why she was going at all. When Betsy met Cole there was a spark, but she was ambivalent. Cole was clearly smart and well educated, but he didn’t seem to be doing much about it. They had some nice dates, which seemed promising. Then, after sleeping over one night and watching Cole wake up at eleven a.m. and grab his skateboard, Betsy felt less bullish. She didn’t want to help another boyfriend grow up. What Betsy didn’t know was that, ever since he’d started spending time with her, Cole had regained some of his old drive. He saw the way she wanted to work on her sculptures even on the weekend, how she and her friends loved to get together to talk about their projects and their plans. As a result, Cole started to think more aspirationally. He eyed a posting for a good tech job at a high-profile start-up, but he felt his résumé was now too shabby to apply. As luck would have it—and it is often luck—Cole remembered that an old friend from high school, someone he bumped into about once every year or two, worked at the start-up. He got in touch, and this friend put in a good word to HR. After a handful of interviews with different people in the company, Cole was offered the position. The hiring manager told Cole he had been chosen for three reasons: His engineering degree suggested he knew how to work hard on technical projects, his personality seemed like a good fit for the team, and the twentysomething who vouched for him was well liked in the company. The rest, the manager said, Cole could learn on the job. This one break radically altered Cole’s career path. He learned software development at a dot-com on the leading edge. A few years later, he moved over and up as a director of development at another start-up because, by then, the identity capital he’d gained could speak for itself. Nearly ten years later, Cole and Betsy are married. She runs a gallery co-op. He’s a CIO. They have a happy life and gladly give much of the credit to Cole’s friend from high school and to the woman with the Evites.

Sometimes we ate raw onions like apples, too, I wanted to tell her. Sometimes, the tin foil held shredded chicken petrified in aspic. A fish head to suck on! I was filled with shame and hateful glee: everything I was feeling turned out at the person next to me. I was the one with an uncut cow's tongue uncoiling in the refrigerator of his undergraduate quad, my roommates' Gatorades and half-finished pad Thai keeping a nervous distance. I sliced it thinly, and down it went with horseradish and cold vodka like the worry of a long day sloughing off, those little dots of fat between the cold meet like garlic roasted to paste. I am the one who fried liver. Who brought his own lunch in an old Tupperware to his cubicle in the Conde Nast Building; who accidentally warmed it too long, and now the scent of buckwheat, stewed chicken, and carrots hung like radiation over the floor, few of those inhabitants brought lunch from home, fewer of whom were careless enough to heat it for too long if they did, and none of whom brought a scent bomb in the first place. Fifteen floors below, the storks who staffed the fashion magazines grazed on greens in the Frank Gehry cafeteria. I was the one who ate mashed potatoes and frankfurters for breakfast. Who ate a sandwich for breakfast. Strange? But Americans ate cereal for dinner. Americans ate cereal, period, that oddment. They had a whole thing called 'breakfast for dinner.' And the only reason they were right and I was wrong was that it was their country. The problem with my desire to pass for native was that everything in the tinfoil was so f*****g good. When the world thinks of Soviet food, it thinks of all the wrong things. Though it was due to incompetence rather than ideology, we were local, seasonal, and organic long before Chez Panisse opened its doors. You just had to have it in a home instead of a restaurant, like British cooking after the war, as Orwell wrote. For me, the food also had cooked into it the memory of my grandmother's famine; my grandfather's black-marketeering to get us the 'deficit' goods that, in his view, we deserved no less than the political VIPs; all the family arguments that paused while we filled our mouths and our eyes rolled back in our heads. Food was so valuable that it was a kind of currency - and it was how you showed loved. If, as a person on the cusp of thirty, I wished to find sanity, I had to figure out how to temper this hunger without losing hold of what it fed, how to retain a connection to my past without being consumed by its poison.

As the subject watches the movies, the MRI machine creates a 3-D image of the blood flow within the brain. The MRI image looks like a vast collection of thirty thousand dots, or voxels. Each voxel represents a pinpoint of neural energy, and the color of the dot corresponds to the intensity of the signal and blood flow. Red dots represent points of large neural activity, while blue dots represent points of less activity. (The final image looks very much like thousands of Christmas lights in the shape of the brain. Immediately you can see that the brain is concentrating most of its mental energy in the visual cortex, which is located at the back of the brain, while watching these videos.) Gallant’s MRI machine is so powerful it can identify two to three hundred distinct regions of the brain and, on average, can take snapshots that have one hundred dots per region of the brain. (One goal for future generations of MRI technology is to provide an even sharper resolution by increasing the number of dots per region of the brain.) At first, this 3-D collection of colored dots looks like gibberish. But after years of research, Dr. Gallant and his colleagues have developed a mathematical formula that begins to find relationships between certain features of a picture (edges, textures, intensity, etc.) and the MRI voxels. For example, if you look at a boundary, you’ll notice it’s a region separating lighter and darker areas, and hence the edge generates a certain pattern of voxels. By having subject after subject view such a large library of movie clips, this mathematical formula is refined, allowing the computer to analyze how all sorts of images are converted into MRI voxels. Eventually the scientists were able to ascertain a direct correlation between certain MRI patterns of voxels and features within each picture. At this point, the subject is then shown another movie trailer. The computer analyzes the voxels generated during this viewing and re-creates a rough approximation of the original image. (The computer selects images from one hundred movie clips that most closely resemble the one that the subject just saw and then merges images to create a close approximation.) In this way, the computer is able to create a fuzzy video of the visual imagery going through your mind. Dr. Gallant’s mathematical formula is so versatile that it can take a collection of MRI voxels and convert it into a picture, or it can do the reverse, taking a picture and then converting it to MRI voxels. I had a chance to view the video created by Dr. Gallant’s group, and it was very impressive. Watching it was like viewing a movie with faces, animals, street scenes, and buildings through dark glasses. Although you could not see the details within each face or animal, you could clearly identify the kind of object you were seeing. Not only can this program decode what you are looking at, it can also decode imaginary images circulating in your head.

In Logo, the child controls a little turtle on-screen, issuing it commands to make it move around. The turtle draws a line wherever it goes, so it’s kind of like using a computerized Etch A Sketch. To draw a square, a child would tell the turtle to go forward thirty steps, turn right ninety degrees, then do the same thing three more times. Children quickly got the hang of it, using Logo to write programs that would draw all manner of things, like houses or cars. They’d laboriously write one instruction for each step of the picture, almost the way you’d set up the dots for a connect-the-dots drawing. To draw a bird, they’d connect two quarter circles together.

The history of irregular media operations is complex and fractured; generalizations are difficult. Yet it is possible to isolate three large and overlapping historical phases: First, throughout the nineteenth century, irregular forces saw the state's telecommunications facilities as a target that could be physically attacked to weaken the armies and the authority of states and empires. Second, for most of the twentieth century after the world wars, irregulars slowly but successfully began using the mass media as a weapon. Telecommunications, and more specifically the press, were used to attack the moral support and cohesion of opposing political entities. Then, in the early part of the twenty-first century, a third phases began: irregular movements started using commoditized information technologies as an extended operating platform. The form and trajectory of the overarching information revolution, from the Industrial Revolution until today, historically benefited the nation-state and increased the power of regular armies. But this trend was reversed in the year 2000 when the New Economy's Dot-com bubble burst, an event that changed the face of the Web. What came thereafter, a second generation Internet, or "Web 2.0," does not favor the state, large firms, and big armies any more; instead the new Web, in an abstract but highly relevant way, resembles - and inadvertently mimics - the principles of subversion and irregular war. The unintended consequence for armed conflicts is that non-state insurgents benefit far more from the new media than do governments and counterinsurgents, a trend that is set to continue in the future.

Excerpted From Chapter One “Rock of Ages” floated lightly down the first floor corridor of the Hollywood Hotel’s west wing. It was Sunday morning, and Hattie Mae couldn’t go to church because she had to work, so she praised the Lord in her own way, but she praised Him softly out of consideration for the “Do Not Disturb” placards hanging from the doors she passed with her wooden cart full of fresh linens and towels. Actually Sundays were Hattie Mae’s favorite of the six days she worked each week. For one thing, her shift ended at noon on Sundays. For another, this was the day Miss Lillian always left a “little something” in her room to thank Hattie Mae for such good maid service. Most of the hotel’s long-term guests left a little change for their room maids, but in Miss Lillian’s case, the tip was usually three crinkly new one dollar bills. It seemed like an awful lot of money to Hattie Mae, whose weekly pay was only nineteen dollars. Still, Miss Lillian Lawrence could afford to be generous because she was a famous actress in the movies. She was also, Hattie Mae thought, a very fine lady. When Hattie Mae reached the end of the corridor, she knocked quietly on Miss Lillian’s door. It was still too early for most guests to be out of their rooms, but Miss Lillian was always up with the sun, not like some lazy folks who laid around in their beds ‘til noon, often making Hattie Mae late for Sunday dinner because she couldn’t leave until all the rooms along her corridor were made up. After knocking twice, Hattie Mae tried Miss Lillian’s door. It opened, so after selecting the softest towels from the stacks on her cart, she walked in. With the curtains drawn the room was dark, but Hattie Mae didn’t stop to switch on the overheard light because her arms were full of towels. The maid’s eyes were on the chest of drawers to her right where Miss Lillian always left her tip, so she didn’t see the handbag on the floor just inside the door. Hattie Mae tripped over the bag and fell headlong to the floor, landing inches from the dead body of Lillian Lawrence. In the dim light Hattie Mae stared into a pale face with a gaping mouth and a trickle of blood from a small red dot above one vacant green eye. Hattie Mae screamed at the top of her lungs and kept on screaming.

first-ever professional check. For writing and performing a smash hit routine on a national coast-to-coast radio program, I received the magnificent sum of seven dollars and fifty cents, less seventy-five cents commission to the Thomas Lee Artists’ Bureau (Tommy was Don Lee’s son). The thrill of leaving on our trip around the world was dampened considerably when Harrison Holliway asked me to do the character on a weekly basis. I was heartbroken, but I had to tell him that we were leaving in five days. The continuation of the great career that had begun that Monday would have to wait until my return. •   •   • Just a few words about our trip, which lasted for six interesting and delightful months. The cost, for the three of us, was just under five thousand dollars. In 1934 the only way to cross an ocean was by ship, and the seas were dotted with literally hundreds of vessels carrying their passengers and cargo from one end of the world to the other. Many lines provided ships to service the large and profitable business of transporting people and things from place to place. The Dollar Line, the President Line, Matson, Canadian Pacific, British and Orient, and North German Lloyd were just a few of the many companies, each of which had as many as a ship a week visiting any given

Eventually, after you have planned the whole thing, you will have many, many steps, but they will be organized into a hierarchy of sorts, as shown in Figure5-1. In this drawing, the three dots represent places where other steps go, but we chose to leave them off so that the diagram can fit on the page. This type of design is a top-down design. The idea is that you start at the uppermost step of your design (in this case, “Build flying saucer”) and continue to break the steps into more and more detailed steps until you have something manageable. For many years, this was how computer programming was taught. Although this process works, people have found a slightly better way. First, before breaking the steps (which are the verbs), you divide the thing you’re building into parts (the nouns). In this case, you kind of do that already, in the first two steps. But instead of calling them steps, you can call them objects

During the winter students researched the colors of the plants, berries, and flowers at different seasons of the year, creating a chart that wrapped high around three walls of the classroom showing with dots the color of each plant species in the park throughout the year.

Where were you on the night of March 7?" Typical detective stuff you hear on television all the time. It's so phony. I hate it. Most people can't remember where they were three nights ago much less on a particular date. I know I can't. The times you remember are the ones you're supposed to: Christmas Day, the Fourth of July, your birthday. As you get older and occasionally look back, even those days drift together into one small blob of memories. But you always remember the first time and the last. You remember your first day of school and the last. You remember the first time you went to the show by yourself and the last time you saw your grandfather. The first time you made love. Most of the nights of my life have passed by barely noticed, like the black squares of rosary beads slipping through the wrinkled fingers in the last pew. But later, when I've looked back, I've realized that a few ink colored seeds have taken root in my mind and have grown into oaken strength. My dreams drift back and nestle in their branches. If those nights were suddenly not to be, I, who had come to lean on them, to relish those few surviving leaves of a young autumn that has passed and will not come again, would not know where I'd been. And I'd wonder, even more so, if there was anywhere to go. Every Chicago winter delivers four gray weeks, with rare spots of sunshine that are apparently the flipside of hell. Teeth bared, the wind comes snarling off the lake with every intention of shredding the skin off your face. Numb since November, hands can no longer tell or care if they are wearing gloves. Snowmen, offsprings of childhood enthusiasm, are rarely born during these weeks. Along with the human spirit, the temperature continues to plummet. The ground is smothered by aging layers of ice and snow. Looking at a magazine ad, you see a vaguely familiar blanket of green. Squinting back through months of brown snow, salt-marked shoes, running noses, icy railings, slippery sidewalks, and smoking sewers, you try to recall the feeling of grass. February is four weeks of hanging onto the ropes, waiting to be saved from a knockout by the bell of spring. One year, I was invited to Engrim University's President's Ball, which was to be held on the first Saturday in February. I don't know why I was invited. Most of the students who received invitations were involved in a number of extracurricular activities; they participated in student government, belonged to various clubs, were presidents of fraternities or sororities, were doing extremely well academically or were, in some other way, pleasing the gods. I was never late with my tuition payments. Maybe that was it. Regardless, the President's Ball was to be held in the main ballroom of one of Chicago's swankiest hotels. I thought it was an excellent opportunity to impress Sarah with my importance. A light snowfall was dotting the night air when

Things accumulated in purses. Unless they were deliberately unloaded and all contents examined for utility occasionally, one could find oneself transporting around in one’s daily life three lipstick cases each with just a crumb of lipstick left, an old eyebrow pencil sharpener without a blade, pieces of defunct watch, odd earrings, handkerchiefs (three crumpled, one uncrumpled), two grubby powder puffs, bent hairpins, patterns of ribbon to be matched, a cigarette lighter without fuel (and two with fuel), a spark plug, some papers of Bex and a sprinkling of loose white aspirin, eleven train tickets (the return half of which had not been given up), four tram tickets, cinema and theatre stubs, seven`pence three farthings in loose change and the manda-tory throat lozenge stuck to the lining. At least, those had been the extra contents of Phryne’s bag the last time Dot had turned it out. The

Outside the airport, the caravan waited. Four silver Airstream trailers, three trucks, two parking violations and Aunt Dot. Stepping into the parking lot felt like coming home.

Global finance made so much hay, not through efficient markets but by riding up and down three interlinked giant global asset bubbles using huge amounts of leverage. The first bubble began in US equities in 1987 and ran, with a dip in the dot-com era, until 2007. It was the longest equity bull market in history, and it spread out from the United States to boost stock markets all over the world. The smart cash that was being made in those equity markets looked around for a hedge and found real estate, which began its own global bubble phase in 1997 and ran until the crisis hit in 2006. The final bubble occurred in commodities, which rose sharply in 2005 and 2006, long before anyone had heard the words “quantitative easing,” and which burst quickly since these were comparatively tiny markets, too small to sustain such volumes of liquidity all hunting either safety or yield. The popping of these interlinked bubbles combined with losses in the subprime sector of the mortgage derivatives market to trigger the current crisis.

When the day came for me to leave, I sat on my front step with three suitcases, two boxes, and a teddy bear, the grand total of everything I owned. Neither of my parents was home.